Mike..... wrote:
> Following up to d4g4h4@yahoo.co.ukDavid Horne, _the_ chancellor
[]
> >FWIW, I
> > don't think that everything Picasso created is 'great' and I think he
> > was having a laugh with some of his quickly done later works. But,
> > Guernica is _not_ in that category IMO.
>
> I'm not saying its in the category of trivial art, I just cant see why the
> statement of the original is any different from the statement of a copy.
How do you get a statement from a copy in this case?
> Surely its power does not lie in the exact placement of a brushstroke or
> the texture of the paint or the precise reproduction of tones?
It's part of what makes it powerful.
> Rather the
> idea and the composition. What difference would moving a few lines a little
> this way or that matter?
That's something you could say about any work of art. A work may seem
perfectly proportioned to you because you're used to it, but the artist
could have moved, say, that tree slightly to the left, and still make
the work seem proportioned. It would make a heck of a difference if you
or I decided to move a few lines a little this way or that, for
instance! :)
> I can see its nice to see the original, that applies to anything, but it
> often seems well over rated to me.
It doesn't seem over rated to me, for some of the reasons I've given.
Colour, texture, all of this is not possible to capture with a
reproduction. I think you'd agree that Guernica is a _particularly_ bad
example, as a reproduction isn't practically possible in most cases.
However, take Mondrian's work between the two world wars. Much of it can
be practically reproduced for a poster, but the experience of seeing it
live is quite different. For a start, you appreciate that it's not meant
to be geometrically perfect, and the slight hues in colour come over so
much better.
--
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(email address on website) "If people think God is interesting, the
onus is on them to show that there is anything there to talk about.
Otherwise they should just shut up about it." -Richard Dawkins |